Following

Christopher Nolan's first directorial effort, a year before he did "Memento," and this is almost as brilliant as that classic. He uses time differentials in a similar manner to tell his story, and it's a very clever one.

Bill is this young writer who begins following complete strangers around just to see where they live and what they're all about. One day, he follows this man, Cobb, who turns the tables and confronts Bill, who breaks down and confesses what he's up to.

Cobb is a burglar and he takes Bill along on a few jobs to teach him the ropes. Both men are voyeurs of a sort and a bond begins to grow between the two of them.

But there's an ulterior motive for Cobb nurturing this relationship, and it all ties in very smartly at the end. No, I won't spoil it but this is a very cool movie and I'm beginning to think Christopher Nolan is a genius.

If you like suspense films with surprise endings, this one is a must see.

Just watched this on DVD three times - Once the 'normal' way, once with the scenes in consecutive order (in this doozy of a film noir, the beginning, middle and end of the story intertwine), and once with the director's commentary running. Quite amazing. A bare-bones tale, told with more flair, energy and substance than most big-budget overblown features being released today.

I think this is an even more accomplished film than the subsequent Memento, which turned me on to Nolan in the first place. Can't wait to see what he does with a bigger budget (and bigger box-office stars) in his next film, Insomnia.

Great film. No gratuitous gimmicks like in most Hollywood films. Everything supported the suspense of the plot. B&w gave it a basic, no-frills feel also. In short, it was visceral in its simplicity of cinematography and cast.

Following serves as an interesting contrast to Memento. Characters in both used manipulation and subterfuge extensively. In that sense, both reminded me somewhat of "In the Company of Men," also highly recommendable. One difference between Nolan's two films is that Memento was a little easier for me to follow, given that the b&w scenes progress in a constant chronological direction, and so do those in color. I don't think that was true of Following, where scenes seemed to be shown at random. If you have the choice between VCR and DVD, I'd highly recommend DVD, since that gives you the option of watching the movie a second time in chronological order, not just in the scrambled (albeit ingenuous) order presented by Nolan. It also makes it easier, upon a second viewing, to piece the order together for yourself, if you want to.

As another viewer noted, one of the best things about both this movie and Memento is that none of the cast were famous. They were characters, not big-name actors who brought in personas developed in other movies.

Given certain similarities in the plots, I wonder if Memento is sort of a remake of Following, but intended to reach a bigger audience, like Edward Burns made She's the One in the mold of -- and with largely the same cast as -- The Brothers McMullan.

The debut that plucked from obscurity one of the brighter stars of contemporary noir is an assured, if limited, stab at the con game and obsession. Filmed for zero money, Nolan couldn't have chosen a better subject than the drab and seamy underside of London to ply his trade, given the lack of funds. This short (67 min) is at its best in playing with the audience's and protagonist's expectations about who is scamming whom, though the initial set-up does ring some alarm bells in the credibility dept. The muddy cinematography (he often used natural lighting due to budget) can be mostly chalked up to noir stylization, though the limitations do show at times.

One can easily see Nolan's style developing in this fledgling effort; many of the same themes of blurred identity and expectation smashing recur in MEMENTO and INSOMNIA. Not a masterpiece but good and certainly worth a look for modern noir and Nolan fans.

In this intriguing noir thriller (looking like the Forties, but with a psychology befitting the Nineties), Director Christopher Nolan employs a number of techniques he would perfect in his internationally acclaimed Memento (2000), most notably scenes presented out of time sequence for effect, and a naive protagonist taken advantage of by others. The film opens with "Bill, the Innocent" (as I might dub him), played by Jeremy Theobald, trying to explain to someone, perhaps a social worker, perhaps even a police inspector (John Nolan), why he took up following people just for the fun of it. He doesn't just follow women, he points out. He's not a stalker, as such. He's just curious. He's an intriguing and sympathetic character, a Brit writer with a lot of time on his hands who seems something of a throwback to an earlier age with his clanking manual typewriter and the photo of a pursed-lips Marilyn Monroe on the wall of his shabby apartment. Things began to go wrong for him, he further explains, when he broke some of his "following rules" and got too close to his prey. What he doesn't know and what we don't know yet, is that his clumsy following technique has allowed him to unwittingly become the followed himself. Enter a juicy blonde (Lucy Russell) walking down some steps from her apartment. (This scene is out of sequence as far as chronological time goes, but psychologically speaking, her appearance signals his entanglement). Enter now a scheming, sophisticated psychopathic thrill-seeker named Cobb (Alex Haw) who entices Bill with his (apparent) practice of burglary just for the powerful feeling one gets from invading the sanctity of another's life. Although justification for the temporal inversions here is not as clearly established as in Memento, nonetheless the technique works well, and Nolan provides us with a clever ending that sneaks up on us and makes in a few seconds all that went before clear. Or mostly clear. You might want to rewind and view the first few minutes of the film, and then everything should be clarity. This low-budget, black and white, deliciously ironic little film (71 minutes) marked the auspicious debut of a film maker who has already made quite a name for himself, not only with the aforementioned Memento, but with Insomnia (2002). It will be interesting to see what Nolan does next.